Burn is the latest experimental avant-garde electronic single by artist-producer Ken Myers aka Cracks In The Real. A deeply intense and cerebral sonic experience that would require repeating listening, much like an excellent work of art or an art film.
Checkout our review of the song > Feel the burn with ‘Burn’ by Cracks in the Real: an Electronica Ode to Ordered Chaos
We had the opportunity to speak to them about their latest song here.
1. Your latest single, “Burn,” is a highly experimental electronic track with a unique and avant-garde sound. Can you share more about the creative process that led to this?
It’s not terribly glamorous, Distrokid had a deal on cover songs around the same time that The Crow reboot was coming out, and Burn is one of my favorite songs, so it felt appropriate. Creatively, I didn’t want to just regurgitate what they had done so, I put the original on a loop and looked for avenues that the original didn’t explore, as flawless of a track as it is.
2. The title “Burn” shares its name with The Cure’s iconic song, which you’ve sampled in this track. Additionally, you feature a poignant sample of Brandon Lee’s voice quoting The Sheltering Sky by Paul Bowles, a quote that appears on his grave. Can you share the story behind the existential undertones of this quote that seems to resonate deeply with the intense sound of these elements and how they shaped the songwriting and thematic direction of “Burn”?
I wanted to pay tribute to Brandon Lee’s iconic performance, so I sampled his last interview, as well as sampling the line from I think Milton (Abashed the devil stood…) which is the poem the villains are reading in the the film as his character dies to kind of book end the feeling of death.
3. While listening to “Burn,” one feels a sense of disorientation yet is transported into a mystical, absurdly beautiful musical world. The song is reflective and layered with complex emotions. What do you hope listeners take away from this journey? Are there specific emotions or thoughts you aim to evoke with “Burn”?
I think I wanted the feel of a narrative. Of a good story well told. The original doesn’t have as much of a narrative quality and that’s something I thought I could bring to the table
5. The sonic palette of “Burn” is rich and immersive, featuring an array of sounds like bells, chirping, synths, strings, and otherworldly tones. How did you approach crafting these textures, and what tools and music production did you use for making the song?
Lots of samples of extended violin techniques, ricochet, col legno, etc. I wanted something electro-acoustic but I wanted the acoustic layer to be agitated and unusual as opposed to using stings to tug heart strings1
6. ”Burn” feels like it bridges multiple art forms: music, philosophy, cinema, and literature, through its references and experimental nature. One could say this song is almost a great attempt at a modern musical Picasso. How do you see the relationship between music and other art forms in your work?
I’m always thinking about this, different forms of art are like facets of a single jewel to me.
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